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Previous Next October 22, 2024 WRITTEN BY: QUENTIN In 2024, Zurich Film Festival celebrated its 20th anniversary with a slate of over 100 movies. For me, since I already covered Cannes this year, I couldn’t attend the entire festival from beginning to end because I couldn’t pull myself away from my true day job to accommodate that level of commitment. However, I was able to attend the opening and final weekends (three days each). This allowed me to see 11 movies on the ground in Zurich, a personal slate that has been complimented by eight other films on the Zurich program that I was lucky enough to catch at Cannes. Sadly, because of the split weekend approach, I missed a few films I was very interested in, but I’ll get to them eventually. Those movies include Super/Man: The Christopher Reeve Story , the Jesse Eisenberg-directed A Real Pain , and Homegrown , “a harrowing portrait of Donald Trump's Hells Angels (aka Proud Boys).” Next year, though, my plan is to spend the entire festival at Zurich because, honestly, after two years of limited access, it has proven to be my favorite festival experience. I’m going to do it right next year and see all the things. Anyway, we'll get to that in 2025. On with this year's ranking… 19. QUEER Full disclosure: I have been coming to the realization that I’m just not a fan of director Luca Guadagnino. With Queer , that notion is solidified because I have almost nothing positive to say about the film. There are some terrific needle drops, and I’ll give Daniel Craig credit for a daring performance (I didn’t say a “great” performance. I truly don’t get the hype.). Otherwise, this is a 135-minute slog with nothing to say despite insisting on saying it in increasingly hallucinatory ways. With its lack of character development, unfocused and incoherent story, sleep-inducing pacing, and fake-looking production design, Queer is pretentious and self-indulgent trash. 18. BIRD Bird is the type of meandering coming-of-age movie that is more focused on eliciting heavy emotion and delivering sensitive realism than telling an A-to-B story. Movies like Aftersun come to mind, which just aren’t really my cup of tea. On top of that, hopeful messages of “everything is going to be okay” and “no one’s no one” don’t really resonate with this cynic. So, double whammy for me. That said, I recognize the film’s beauty, as well as the strong performances (Barry Keoghan, especially), but predict that others, particularly women, are likely to be more moved by this picture than I was. This review originally posted with Bitesize Breakdown’s coverage of the 77th Cannes Film Festival (2024). 17. WILLIAM TELL It seems like forever since we’ve received an old-school, historical epic in the vein of Braveheart , and although William Tell boasts all the hallmarks one would expect, it lacks a certain spark to truly rouse the viewer. Even in the film’s best and most intense sequence — the famed apple moment — something is lost since we already know how it ends. I understand such is the way with true stories, but this feeling of meh permeates the entire 135-minute runtime. On the plus side, the entire film is gorgeously shot, featuring tremendous cinematography and some of the most beautiful landscapes I’ve seen in a minute. 16. LEE Despite a committed performance from Kate Winslet and a solid against-type showing from Andy Samberg, Lee doesn’t offer much to engage the viewer. The beats of Lee Miller’s (Winslet) life feel cherry-picked and rushed, as if perhaps more interesting tidbits were left on the editing room floor simply to make for a shorter runtime, and while it certainly shows some atrocities of war, it’s nothing we haven’t seen before. Plus, the awkward framing device of a story being told in flashback is wholly unnecessary (especially the “reveal”). This all results in a film that fails to make the viewer truly invested. It’s beautifully shot, though. 15. ON BECOMING A GUINEA FOWL Have you ever watched a movie that you respect immensely even if you didn’t really enjoy the experience? On Becoming a Guinea Fowl is that type of movie. The messaging that abusers should be held accountable and that continuing to speak up even after being ignored is incredibly important. Plus, the representation of Zambian culture, tribal, and family dynamics is super enlightening. That said, this is not a movie I’d ever watch again, and I didn’t find my viewing experience to be personally rewarding. I did love the final shot, though. This review originally posted with Bitesize Breakdown’s coverage of the 77th Cannes Film Festival (2024). 14. THE UNHOLY TRINITY The Unholy Trinity doesn’t do anything particularly amazing or particularly terrible, resulting in the kind of movie that could easily play as a weekend cable rerun for years to come. The story, direction, and Western vibe are workmanlike and serviceable, while Pierce Brosnan and Samuel L. Jackson do their typical thing with expected success. Brandon Lessard, on the other hand, feels out of place. He often comes across as too modern, and he simply doesn’t have the acting chops to hold his own with his costars. Overall, he brings down the whole affair to a watchable but forgettable western. 13. BABYGIRL Perhaps this is more an issue of expectation management, but based on the trailers, I expected Babygirl to be…I don’t know…hot? Sure, nominally, it’s an erotic thriller, but it’s blandly clinical, lacking in overall sexiness and horny delights (many of which are reduced to montage form). That said, the performances are great, especially Nicole Kidman, who seemingly thrives playing the rich white woman with the imperfect perfect life, and writer-director Halina Reijn confidently explores sexual desires, repression, liberation, and power dynamics. It’s certainly not a bad movie, but it’s being marketed as titillating and lurid eroticism; since that’s not what Babygirl is, I walked away wanting. 12. THE LAST SHOWGIRL As cliché as the story is, recalling The Wrestler and Crazy Heart , The Last Showgirl is generally effective because of the ensemble cast and fresh take of seeing this familiar tale told from a woman’s perspective. Pamela Anderson, though a bit uneven, still gives the best performance of her career as a character that perhaps she understands better than anyone else could, and she’s elevated by terrific supporting turns from Dave Bautista and Jamie Lee Curtis. Sure, some plot points could have been fleshed out much more, and I didn’t care for the multitude of literally out-of-focus camera shots, but Showgirl is more successful than not. 11. CONCLAVE Conclave is amongst my most overhyped movies of the year (I blame Nick). That’s not to say it’s bad, but at no point did I find the story gripping or thrilling, which is kind of the point of a “conspiracy thriller,” no? Granted, it boasts terrific performances and is handsomely made, but the characters are so underdeveloped that the twists and turns (including a silly final reveal) never hit as hard as seemingly intended. I genuinely didn’t care who became Pope, and a movie like this requires the audience to take a side to work effectively. Conclave is decent, I suppose, but a disappointment, nonetheless. 10. JOKER: FOLIE À DEUX In Folie à Deux , Joaquin Phoenix seamlessly slides back into the character for which he won an Oscar, and Lady Gaga’s songbird talents are perfectly cast as the relative light to his darkness. That alone would make it worth your time. However, unlike Joker , this sequel actually has something to say, using a subtle meta touch to explore themes of celebrity, obsession, reality v. fantasy, and scandal as entertainment. It’s not flawless, admittedly, as the musical numbers contribute to disjointed pacing issues, but we’re still left with a sequel that, although not quite as good as its predecessor, is more ambitious, which makes it more worthy of respect. 9. GOOD ONE Good One is a tremendous feature directorial debut from India Donaldson, and a showcase for young star Lily Collias. Funny and insightful, understated yet complex, it explores Sam’s (Collias) transition from dependent teenager to empowered adult as she deals with two, generally harmless but not quite enlightened, middle-aged dads struggling to navigate the line between “daughter figure” and “fully realized woman.” Donaldson does a great job of putting us in Sam’s shoes as she observes their bickering, regrets, selfishness, and sexism, which creates a low-simmering tension throughout as we’re left wondering when enough might be enough. It’s simple and spare, but never slight, and always compelling. This review originally posted with Bitesize Breakdown’s coverage of the 77th Cannes Film Festival (2024). 8. THE ASSESSMENT On its surface, The Assessment is a tense and claustrophobic exploration into the difficulties of parenthood. On top of that, it has style to burn, as well as three tremendous performances, none more excellent than Alicia Vikander in one of the best showings of her career. However, as the story widens its aperture into broader world-building and deeper commentaries on bureaucracy and “this could really happen” stakes, it loses the thread a bit. There is still a lot to like in The Assessment , including some self-validation that being a parent isn’t for me, but it just barely misses sticking the landing. 7. THE KINGDOM (aka LE ROYAUME ) Although generally a coming-of-age tale, The Kingdom takes a darker and grittier approach than most genre offerings by focusing on the daughter of a Corsican mob leader in the middle of a gang war. It’s like watching Narcos from the perspective of Pablo Escobar’s daughter, which delivers two captivating aspects we don’t often see: 1. The effects gang life has on unaffiliated family members; 2. the dichotomy of a ruthless crime lord that is, first and foremost, a loving father. It makes for a taut, moving, and gripping experience. Even more impressive? This is director/writer Julien Colonna’s and star Ghjuvanna Benedetti’s feature debuts. This review originally posted with Bitesize Breakdown’s coverage of the 77th Cannes Film Festival (2024). 6. THE ORDER Simply put, The Order is good, old-fashioned filmmaking for grown-ups, with no gimmicks, no frills, and no egregious attempts to overdo it. At its core is a compellingly intense true story that plays like a mix of Hell or High Water and BlacKkKlansman , all of which is driven by terrific (but not necessarily awards-worthy) performances from Jude Law and Nicholas Hoult. That said, while I could nitpick a few undercooked narrative choices, when the end result is something this riveting (not to mention beautiful to look at because the cinematography and landscapes are top shelf), it’s easier to just give yourself over to it. 5. THE APPRENTICE Much like Oliver Stone’s W. , The Apprentice offers a surprisingly sympathetic origin story to Donald Trump (Sebastian Stan), showing the evolution from Trump the Man to Trump the Brand. However, with Trump being such a divisive individual, it’s hard to pinpoint how much one’s politics will influence their opinion of the movie because, although it’s not exactly assaultive, it’s definitely not flattering. All that aside, though, the soundtrack, production design, and performances…especially Stan, who nails Trump’s mannerisms without ever falling into an SNL -style impression…are all on point. The quality certainly is there to make it worth your time if you can get past any political blockers. This review originally posted with Bitesize Breakdown’s coverage of the 77th Cannes Film Festival (2024). 4. HERETIC In Heretic , the villain, played by a disarmingly deranged and against-type Hugh Grant, poses questions and tests of faith to two Mormon missionaries (Sophie Thatcher and Chloe East, both excellent). On premise alone, I had extremely high hopes because I love anything that deconstructs religion. Thankfully, the film delivers. While it isn’t “scary” in the traditional sense, it is a powder keg of tension and palpable suspense, featuring deceptively menacing dialogue and thought-provoking questions. In what has been a strong year for horror, Heretic proves to be one of 2024’s best. I’m not sure it works with anyone else but Grant, though. 3. ANORA Director Simon Baker’s Anora is easily his most accessible, commercial, and polished film to date. It’s also his best, electric with chaotic energy that rarely abates as it sprints through a sex- and laugh-filled comedy of errors. At the center of the whirlwind is Mikey Madison, who gives a star-making performance that is funny, fierce, empowering, and ultimately heartbreaking. If you can imagine Pretty Woman mixed with Uncut Gems , then you’ve got a pretty good idea of what’s in store. It’s worthy of any and all awards consideration it’s surely to garner. This review originally posted with Bitesize Breakdown’s coverage of the 77th Cannes Film Festival (2024). 2. SEPTEMBER 5 Seemingly out of nowhere (it didn’t play at Sundance, Toronto, Cannes, or Venice), September 5 is a dark horse contender for Best Picture. Admittedly, I’m a sucker for journalism movies, but this one is driven by the narrative’s “as-it-unfolds” propulsiveness, which creates an electric, suspenseful, and thrilling look at news media doing live coverage of a terrorist attack for the first time. On top of that, with what is currently happening with Israel and Gaza, it’s as timely and relevant now as the real-life events were in 1972. Add in terrific performances from the entire ensemble, and you’ve got one of the year’s very best. 1. FLOW I surely didn’t expect one of the best films out of fest season to be a dialogue-free animated movie about a cat and other animals fighting for survival during a flood, yet here we are. With beautiful animation and surprisingly deep characterizations that should embarrass lots of other movies (again, zero dialogue), Flow is a tense, spellbinding, and emotional treatise on the importance of working together. It’s equal parts cute and poignant, appealing to both children and adults alike, especially those who played Stray or enjoy cat videos on YouTube. It’s already one of my favorite animated movies of all time. This review originally posted with Bitesize Breakdown’s coverage of the 77th Cannes Film Festival (2024).

Previous Next August 20, 2025 WRITTEN BY: QUENTIN While it’s true we are about to enter film festival season, when most eventual award winners start trickling out, something else is also brewing. Football is back, baby! Despite me being a massive fan of both movies and football, I’m not entirely sure where the overlap is between the two fandoms. However, I’d venture to say that most football fans probably enjoy movies about football. I’d also bet that many of those individuals play fantasy football. That’s where I come in… With the NFL season starting in a few weeks, most fantasy players are doing fantasy draft prep, myself included. But I’m also preparing for multiple film festivals. I recently applied to both Zurich and Sundance Film Festivals (among others), which means I need to look ahead to what their slates might be so I know what movies to prioritize. Meanwhile, I’ve long been studying which NFL players might be a breakout, bust, or sleeper this season. In splitting my research time between movies and fantasy football, the two lines of thinking merged, prompting the following question: Who would be on my Fictional Fantasy Football Team? The rules are simple… 1. Only fictional football players, television or film. That means no players based on real people, so no one from the likes of Remember the Titans or Invincible . 2. To maintain some variety, no two players from the same movie. Otherwise, I might end up drafting everyone from Any Given Sunday . 3. I’m limiting myself to movies and series that I’ve seen, which means there might be some glaring omissions, in your opinion. For example, I never watched NBC’s Friday Night Lights , so no Tim Riggins (Taylor Kitsch) or Brian “Smash” Williams (Gaius Charles). 4. Obviously, comparing high school players to NFL players is a fool’s errand, so I’m working with the general caveat that “all things are created equal,” meaning all fictional players are playing in the same league. Frankly, there just aren’t enough football movies to make this work otherwise. A stud high school player in Varsity Blues is the same as a stud professional in The Replacements . Also, I’m assuming all players are in their prime. 5. I’m going with the standard lineup: QB, RB, RB, WR, WR, TE, FLEX, K, DST. Also, this is a PPR league (point per reception). 6. Lastly, I’m obviously not drafting against anyone else, so this team, in my eyes, is the best team available based on the rules above. Now, to quote Hank Williams, Jr., “are you ready for some FOOTBALLLLLLLLL!?!?!” QUARTERBACK: PAUL “WRECKING” CREWE, THE LONGEST YARD Specifically, I’m talking about the 1974 version of the character played by Burt Reynolds, not the 2005 version played by Adam Sandler. Nothing against Sandler, but Reynolds was a scholarship football player at Florida State, so his Crewe clearly has a more athletic build and probably better skillset than Sandler’s Crewe. Plus, real talk, quarterbacks in the 70s were just tougher than they are today. That notwithstanding, in his one on-screen game, he (eventually) shows composure, grit, determination, and leadership as he wills his team back from a 35-13 deficit against a dirty team not playing by the rules. He demonstrates incredible accuracy, the ability to make plays with his legs, and a solid game IQ. He’s also a former NFL MVP, so the talent is there to be an elite fantasy QB. RUNNING BACK: JULIAN “J-MAN” WASHINGTON, ANY GIVEN SUNDAY Look, I get that Julian Washington (LL Cool J) is a diva and one of the most selfish football players in on-screen history. However, this is a fantasy squad. I just need him to rack up yards and touchdowns, not be a positive locker room presence. For one, he’s stout at 6’2”, 230lbs. For comparison, the Philadelphia Eagles’ Saquon Barkley, who had a league-leading 2,283 total yards and 14 total touchdowns in 2024, is 6’, 234lbs. On top of that, Washington is a proven league-leading RB, having rushed for 1,500 yards the year before joining the Miami Sharks. He also has a reputation for constantly trying to get paid. Sure, that means his own head coach called him a “mercenary,” but it also means he’s doing everything in his power to hit all his incentive clauses and set up his next contract in free agency. In fantasy, that sort of selfishness wins championships. RUNNING BACK: RAY JENNINGS, DRAFT DAY We don’t have a ton of game film on Ray Jennings (Arian Foster), but there are a few anecdotes that make him a worthy RB2. We know that in his final season at Florida State, he had more than 2,000 total yards and finished as a Heisman finalist, which was enough to get him drafted #7 overall. We also know that his dad, Earl Jennings (Terry Crews) was an NFL legend, so there are good genes at play. Lastly, we know the actor portraying Jennings, former NFL RB Foster, was a dual-threat fantasy stud before injuries derailed his career. With the idea that actors put themselves into their characters, it’s not a giant leap to think Jennings could produce much like Foster did in his heyday, notching three All-Pro teams and four Pro-Bowls while leading the NFL in rushing touchdowns twice. WIDE RECEIVER: ROD TIDWELL, JERRY MAGUIRE Podcaster Bill Simmons once estimated that Rod Tidwell (Cuba Gooding, Jr.) had about 1,550 yards on 110 catches over the course of the season in Jerry Maguire . That is elite production, especially in 1996. For comparison, in real life, the most receptions in 1996 belonged to Jerry Rice (108) and the most receiving yards belonged to Isaac Bruce (1,338). So, yeah, he would have been the league’s best wideout. Although he is a bit undersized, he makes up for it with his intensity, competitiveness, and “kwan,” showing elite speed, great hands, and complete reliability as both a deep threat and a player who isn’t afraid to go across the middle. I could go on, but honestly, the estimated numbers speak for themselves. Tidwell is a first-round talent. WIDE RECEIVER: DEACON MOSS, THE LONGEST YARD You might think this is a cheat, but I said, “no two players from the same movie.” The Longest Yard (1974) and The Longest Yard (2005) are scientifically proven to be two separate movies. In fact, Deacon Moss (Michael Irvin) isn’t even a character in the original. Therefore, we’re good. In any case, Moss is a big-bodied, physical wideout that dominates defensive backs to make tough catches in traffic, and his incredible hands make him an indispensable offensive weapon. There is much we could speculate about how Moss would translate prison-yard skills to the NFL, but much like Ray Jennings, we have a perfect real-life parallel. Irvin, known as “The Playmaker,” was a three-time All-Pro and five-time Pro-Bowler who averaged almost 1,300 yards, 83 receptions, and seven touchdowns per season during his prime. The dude is an NFL Hall of Famer, and these numbers aren’t out of reach for Moss, whose inclusion is a no-brainer. When paired with Tidwell, that’s a 1-2 fantasy punch at WR that would be untouchable. TIGHT END: BRIAN MURPHY, THE REPLACEMENTS Much like real fantasy football, TE is slim pickings in fictional fantasy football too. After much research, Brian Murphy (David Denman) is the only fictional TE I could find with any usable profile. All evidence points to him having been a first-round talent if only he weren’t deaf, which is a good start. Former NFL fullback Derrick Coleman, also deaf, has shown that the hearing-impaired can have some NFL success. So, why not Murphy? He has the size and hands to be, if nothing else, a decent target in the red zone, as demonstrated by catching the game-winning, playoff-clinching touchdown against the Dallas Knights. At worst, he’s probably touchdown dependent, but that is all you can really hope for with most TEs, anyway. FLEX: BUDDY, AIR BUD: GOLDEN RECEIVER Wherever I happen to be as you’re reading this right now, just know that I can feel you rolling your eyes into another dimension. Just hear me out… First, yes, Buddy (Rush, Chase, Zak, and Chance) is a dog, but he’s also a multi-sport star. Name another athlete that has proven to be competitively successful in football, basketball, soccer, baseball, and volleyball. Second, name one person who could keep up with a golden retriever that runs the 40-yard dash in about 2.7 seconds. Given his speed and agility, Buddy is a matchup nightmare. Plus, it’s noted that he could run a marathon, so he has endurance too. As it pertains to football, specifically, he averages at least three touchdowns per game with zero drops. In the championship game alone, he has at least 140 rushing yards, 100 receiving yards, and three touchdowns. He averages 40 yards after the catch! You may think it’s silly to include him here, but those are Madden numbers, making for an unstoppable flex. It remains to be seen if he would be the highest scoring player in all of fantasy, but he’ll almost certainly be a very good boy, nevertheless. KICKER: LUCY DRAPER, NECESSARY ROUGHNESS Lucy Draper (Kathy Ireland), a soccer player, is essentially the only offensive threat on a terrible team, which means since drives will inevitably stall in enemy territory, she will be inundated with field goal chances. She has also shown the ability to split the uprights in the driving rain and from distance with the game on the line, demonstrating the type of clutch poise that would make Ray Finkle jealous. Let’s not forget that she also stood up to an opposing player in tremendous fashion after being taunted for being a woman in a “man’s game,” so she’s got the moxie typical of most successful football players. DEFENSE/SPECIAL TEAMS: UNIVERSITY OF ALABAMA, FORREST GUMP I admit, this one may be a cheat. Yes, I said no real people, but even as I recognize the University of Alabama is a real team, I’m drafting it for a very specific and very fictional reason: Forrest Gump (Tom Hanks). If you don’t play fantasy football, you may not know that, in addition to scoring fantasy points based on how many real points your fantasy defense gave up in a real game, you usually get points for kickoff and punt return yards and touchdowns too. Gump was a machine on that front, even becoming an All-American for seemingly doing little else but returning kickoffs for touchdowns (in the movie, at least). Now, Gump attended Alabama from 1959 to 1963. I don’t know anything else about the rest of Alabama’s team in the world of Forrest Gump , but in real life, Alabama went 38-4-1 during that time, including winning the national title in 1961 when they only gave up 25 total points in 11 games. I also know that Gump had six kickoff returns for touchdowns in his first season (both the real-life NCAA and NFL record is four in a season), one of which was for 99 yards. Lastly, in 2024, the average touchdowns scored by a DST was 1.6 (the Denver Broncos had the most with five). That includes touchdowns stemming from interceptions, fumble recoveries, kickoff returns, and punt returns. If Gump can continue breaking return touchdown records while racking up return yards in support of an apparently stout defensive unit, that creates a significant advantage over every other team.

THE WILDS: SEASON TWO Starring: Rachel Griffiths, Sarah Pidgeon, Mia Healey, Sophia Ali, Erana James, Shannon Berry, Reign Edwards, Jenna Clause, Alex Fitzalan, Reed Shannon, Aidan Laprete, Nicholas Coombe, Charles Alexander, Zack Calderon, Miles Gutierrez-Riley, Tanner Ray Rook, David Sullivan, and Troy Winbush. Creator: Sarah Streicher PAIGE The first season of The Wilds was one of the greatest surprises of 2020. I loved the coming-of-age story built on astonishing performances from the “Dawn of Eve” group; However, for Season Two, the show shifts the focus from the girls to the boys while doing absolutely nothing unique with them. Why!?! The addition of “Twilight of Adam” crammed too much underdeveloped story into this season, which left me wanting more. That said, with the way things are left in the finale, I can’t wait to see what the showrunners have in store for us. Give me Season Three now!

AMERICAN BORN CHINESE: SEASON ONE Starring: Ben Wang, Michelle Yeoh, Yann Yann Yeo, Chin Han, Daniel Wu, Ke Huy Quan, Jimmy Liu, and Sydney Taylor Creator: Kelvin Yu AMARÚ American Born Chinese probably would deliver on some great themes and nice ideas if it didn’t spread itself thin trying to be so many shows at once. It’s a coming-of-age drama whose uniquely charming characters can’t cover its crude writing and stiff delivery. It’s also a martial arts soap opera whose great fight choreography can’t cover its corny dramatics. Lastly, it’s a commentary on minority representation in Hollywood whose satire is way too heavy-handed. There’s merit to be found somewhere in this show, but it too often gets lost trying to aimlessly put it all together. QUENTIN While the first episode shows a lot of promise, mixing Shang-Chi and the Legend of the Ten Rings with a less cringy Ms. Marvel (which makes sense since Destin Daniel Cretton directed both it and Shang-Chi ), it increasingly becomes more of a tween series as it goes along. Each episode feels cheaper than the one before, especially with the extremely rough CGI, and its Disneyfied YA-ness becomes too much to bear. I have no doubt young teens, especially those of Chinese descent, will be enamored with this show…I probably would have been 30 years ago…but for an adult, it’s lacking despite the impressive, Oscar-winning cast.

LESSONS IN CHEMISTRY Starring: Brie Larson, Lewis Pullman, Aja Naomi King, Stephanie Koenig, Kevin Sussman, and Alice Halsey Creator: Lee Eisenberg PAIGE The highly anticipated adaptation of Lessons in Chemistry has arrived, and it’s a charming series that transports its audience back to the 1950s, touching on themes of sexism in the workplace, racism, and one seeking a connection to something or someone. Although it exploits these themes in a fluff-piece manner, which makes it feel a little generic at times, that doesn’t take away from the lovely story being displayed on screen. Brie Larson, who portrays Elizabeth Zott, delivers a powerhouse performance that should allow women from all over to feel liberated enough to follow their hopes and dreams.

GEORGE & TAMMY Starring: Jessica Chastain, Michael Shannon, Steve Zahn, Walton Goggins, Kelly McCormack, Katy Mixon, and David Wilson Barnes Creator: Abe Sylvia QUENTIN I was raised on George Jones’ music, so, admittedly, George & Tammy probably had to do far less lifting to get me on board than for others. I also admit that it felt a tad too short at only six episodes, certainly leaving many explosive stories on the cutting room floor. That said, I was immediately hooked. Jessica Chastain and Michael Shannon are both excellent as Country Music’s King and Queen, even doing their own singing (especially impressive for Shannon, as Jones’ voice was so distinctive). All in all, and personal bias recognized, one of the best and most underrated shows of 2022.

PEAKY BLINDERS: THE FINAL SEASON Starring: Cillian Murphy, Paul Anderson, Anya Taylor-Joy, Sam Claflin, Tom Hardy, Sophie Rundle, Ned Dennehy, Benjamin Zephaniah, Natasha O’Keeffe, Finn Cole, Aimee-Ffion Edwards, Packy Lee, Ian Peck, Kate Phillips, Harry Kirton, Daryl McCormack, Pauline Turner, Emmett J. Scanlan, Charlene McKenna, Amber Anderson, James Frecheville, Conrad Khan, and Stephen Graham Creator: Steven Knight QUENTIN For its final season, Peaky Blinders made some big changes, including a time jump and introducing a reformed Tommy Shelby (Cillian Murphy). Unfortunately, New Tommy makes for a mostly dull gangster. He no longer drinks whiskey, is less prone to settling matters with a Tommy Gun, and spends the majority of the season in smoke-filled meetings instead of making things happen “by order of the Peaky Fookin’ Blinders.” Meanwhile, all other major characters are sidelined (Arthur (Paul Anderson) is especially wasted), and the ending is a total cop out. Despite the typically stellar acting and cinematography, it’s a disappointing end to a generally great series.

A MAN IN FULL Starring: Jeff Daniels, Diane Lane, William Jackson Harper, Aml Ameen, Tom Pelphrey, Sarah Jones, Jon Michael Hill, Chanté Adams, Lucy Liu, Bill Camp, and Evan Roe Creator: David E. Kelley QUENTIN A Man in Full provides both too much and too little in its six relatively short episodes. It provides too much because there are five or so loosely connected plotlines, so pacing and momentum are an issue; it provides too little because there are so many story threads that most of them are underdeveloped (or worse, almost completely separated from the other plots, making them less engaging). That said, there are some great moments , almost all of which stem from William Jackson Harper or the contentious rivalry between Charlie (Jeff Daniels) and Harry (a fantastic Bill Camp), ultimately resulting in an unfocused acting showcase.

Previous Next It's Valentine's Day and love is in the air, so we decided to drop our newest list a day early. The Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Rom-Coms. Each writer ranks his or her top 15 films in the category. Those lists are then weighted on a reverse point system. After all the points are tallied up, the entries with the most total points make up the Bitesize Top Five. 5. COMING TO AMERICA “YES! F*** YOU TOO!” might be my favorite line delivery in any romantic comedy ever (tied with some lines from our #1). As funny as it is though, people often forget the romance storyline that is at the heart of Coming to America . It holds its own amongst the top-notch jokes while making the film an automatic “oh, hell yea” once you realize it qualifies for this category. So… OH, HELL YEA!!! THAT MOVIE GOOD!!! - Amarú 4. CRAZY, STUPID, LOVE Even putting my man-crush on Baby Goose aside, Crazy, Stupid, Love is a hilarious and honest look at romance from two perspectives: the young player who may have found “The One” and the heartbroken, middle-aged guy who never expected to be single again. Truth be told, I’ve been some version of both characters at different points in my life, and the situations, dialogue, and dynamic between Ryan Gosling and Steven Carell are so genuine and relatable that this movie just resonates with me on multiple levels. - Quentin 3. YOU'VE GOT MAIL This may be the lesser known of the Tom Hanks/Meg Ryan rom-coms, but it's always been my favourite. Everything from the juxtaposition of the online relationship versus the personal one and the way both evolve to the undeniable chemistry these two actors share, it's a joy watching them push each other's buttons (all the while being in on the secret the characters aren't privy to). You can't help but root for them to get together, and that’s exactly what the best rom-coms set out to do. - Nick 2. WHEN HARRY MET SALLY... As of this moment, there is no film in existence that more appropriately fits the definition of “rom-com” than When Harry Met Sally . When it comes to the gold standards of the rom-com formula, or the kinds of characters rom-coms typically possess, this movie stands above all others as the prototypical example…and for good reason. It’s funny, it’s romantic, and most importantly, it gave us the eternally iconic Meg Ryan diner scene. - Jacob 1. THE 40-YEAR-OLD VIRGIN With a premise as simple as a man in his middle years who has yet to experience sex, The 40-Year-Old Virgin could've been just another in a list of forgettable, sophomoric comedies. Instead, the movie takes a gentle approach to a topic that can be sensitive to those who relate, due largely to its stellar cast of Steve Carell, Catherine Keener, Seth Rogen, Paul Rudd, and more. With a combination of strong performances from the lead actors and solid turns from the supporting players, even in bit roles, the film is cemented as one of the recent comedy classics, romantic or otherwise. - Darryl HONORABLE MENTIONS GROUNDHOG DAY 10 THINGS I HATE ABOUT YOU THE WEDDING SINGER MY BIG FAT GREEK WEDDING 50 FIRST DATES Photo Credits: Photo 1 - Paramount Pictures; Photo 2, 3 - Warner Bros; Photo 4 - Columbia Pictures; Photo 5 - Universal Pictures

UNDER THE BRIDGE Starring: Lily Gladstone, Riley Keough, Vritika Gupta, Chloe Guidry, Javon “Wanna” Walton, Izzy G, Archie Panjabi, Aiyana Goodfellow, and Ezra Faroque Khan Creator: Quinn Shephard QUENTIN I can’t remember the last time a show went from promising start to borderline unwatchable in the time that Under the Bridge does. Maybe it’s just me, but the more time I spent with the bitchy, white, teenage girls who refer to themselves as — huge eye-roll — the “Crip Mafia Cartel” while constantly bragging about how gangster they are and incessantly name-dropping John Gotti, the tougher it was to finish each episode. Just…So. Damn. Annoying. That said, if you can get past that, the acting and (true) mystery are decent enough to satisfy fans of shows cut from the same cloth as True Detective and The Killing .

THE BLACKLIST: SEASON NINE Starring: James Spader, Diego Klattenhoff, Harry Lennix, Hisham Tawfiq, Amir Arison, and Laura Sohn Creator: Jon Bokenkamp NICK With the departures of creator Jon Bokenkamp and star Megan Boone, the ninth season of The Blacklist was going to be an uphill climb. A series focused on the relationship between its two lead characters loses its purpose when one of those characters is no longer there. The new storyline threads and an unnecessary extension of Elizabeth Keene's (Boone) death don’t hold the weight of earlier seasons, and the “villain-of-the-week” gets tiresome. As much as James Spader (and the underrated supporting cast) give great performances, the sad realization is that this show doesn’t need to exist anymore.

CLIPPED Starring: Laurence Fishburne, Jacki Weaver, Ed O’Neill, Cleopatra Coleman, Kelly AuCoin, Richard Sommer, Harriet Sansom Harris, J. Alphonse Nicholson, Sheldon Bailey, and Austin Scott Creator: Gina Welch AMARÚ Improving with each episode, Clipped evolves from its saccharine, throw-as-much-information-at-the-screen-until-something-sticks start into a very entertaining and surprisingly effective series. While the performances are great, with Laurence Fishburne, Jacki Weaver, and Ed O’Neill leading the way, you can’t help but laugh at how much the actors playing NBA stars are not the people they’re portraying. Weirdly, this irreverence highlights the audacity of the Sterlings’ privilege, and creates an enjoyable tone of ridiculous disbelief that not only balances humor and sincerity, but also creates empathy for what those players must’ve been feeling. NICK It’s a bad time to be an old white man named Donald. Clipped is the most Ryan Murphy (non Ryan Murphy) show I've ever seen. It's got the exaggerated personalities, the soap opera elements, and that FX sheen. Also, like a Murphy series, Clipped thrives on its accurate casting. Laurence Fishburne and Ed O'Neill drive the show, but the supporting cast all come to play. I knew of Donald Sterling (O’Neill), but was unaware of the intricacies of his tenure with the Clippers or his relationship with his secretary (clear comparisons to the current Vince McMahon case). It’s a dramatization, sure, but it entertained me. QUENTIN Overall, Clipped is an entertaining show that features some fantastic performances. However, there is a tonal imbalance that prohibits it from being as great as HBO’s Winning Time . Half of the story is almost a comedy, taking a trashy tabloid approach to Don Sterling’s (Ed O’Neill) and V. Stiviano’s (Cleopatra Coleman) buffoonery. Meanwhile, it (rightfully) gets serious when it explores how this incident affected Doc Rivers (Laurence Fishburne) and the players (a scene between Fishburne and LaVar Burton, who is playing himself, is especially poignant). It’s still worth your time, but a little more consistency in the tone could have made Clipped great.